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Art Craft Tools, Material Supply Tips & Recommedations
Photographing finished paintings can be one of the most frustrating aspects of painting, but still one of the most necessary. These photographic records are invaluable when reminiscing about past accomplishments, a necessity for entering most juried exhibitions, and a prerequisite for publication. Since most artists either sell or gift their works, it’s paramount to keep a high quality photographic record for future reference.
Framing can be one of the most costly aspects of our pastel painting careers. Frames are expensive, never mind the glass, mats, backing, and fitting charges when a professional framer is utilized. We invest in the hope that someone will open their wallet and purchase a painting, helping us to recoup some of our overhead. It’s a speculative business at best.
Pastel is unique among fine art media, because it doesn’t have an inherent binder to hold it onto a surface like all other forms of painting. This difference is one of the reasons it gets classified as a drawing medium in some circles. Pastelists, though, most often associate their intent with the act of painting. While the end result of painting with pastel may visually resemble binder-based paints, it does rely on one component that they do not. It requires enough tooth and surface density for adhesion.
The interaction between a painting medium and surface plays an integral part in an artist’s painting technique and the final appearance of the artwork. This is especially true with pastel. While wet media, such as watercolor and oil, are applied with a brush that is capable of pushing pigment into a porous surface, pastel is applied dry, relying on the textural nature of the surface for adequate adhesion.
Wondering how to display art on paper? Get advice from the pros: Litsa Spanos, Chris Morris and Craig Valentine of Art Design Consultants; Paul Schaff of Wellage and Schaff Fine Art Services; Michael Chesley Johnson, pastel artist; Jean Pederson, watermedia artist; and Michael Skalka, Chairman ASTM D01.57.
Koo Schadler takes you through the process of making homemade gesso and gesso panels. Included in her instructions are supply lists, a gesso recipe and instructions on how to apply gesso on wood or hardboard panels.
Many pastel artists will awake on Tuesday morning to the thrill of opening presents. If in the past year, Santa Claus has deemed them to be nice not naughty, they will have undoubtedly received pastels instead of a lump of coal. While coal may produce some interesting drawing effects, it’s the prospect of adding additional sticks of pastel to one’s palette that thrills most pastelists. No matter how many brands, hues, chromas or values of pastel an artist may have, more is better. As any pastelist knows, the one with the most when they die – wins! Deciding how best to store, assimilate and record the pastels is when the three Ds of pastel organization arise.
While I am not a proponent of over-using darks in landscape painting, there are times when intense rich darks are useful. So don’t avoid black as a pigment and workable fixative as a tool. They can serve the pastelist well. Read more about the art of color, and experiment with new organic pigment pastel offerings, which can expand your painting possibilities.
Do your holiday shopping now from the comfort of your own home, and you can have everything wrapped, tagged and ready to go without navigating any traffic hassles or crowds! Our “Fabulous Gifts for Artists | The Pastel Artist’s Edition” …